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sawcathuntingplainrawlasagna · 1 year

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Quick post about Kit Tanthalos and the visualisation of her Dramatic Fall™ Or: a masterclass in Visual Dramaturgy

(also, I’m lying, this is gonna be a very long post, strap in)

We meet Kit in episode 1 at the hight of her privilege. This is where she is the princess, outranking everyone except her mother (arguably even Airk, since she is to be married the very next day). At this point she also thinks she bests Jade in every fight and the world revolves around her.

Visually we don’t just meet her in her place of power and privilege but also in nature (locus amoenus) and quite literally on top of the world: on a cliff. Heck, the very opening shot of the first episode is Kit in her power, looking down on the viewer. Shortly thereafter followed by a shot of her (and Jade) looking over the kingdom.

In episode 2, after Elora Danan’s identity is revealed to the group, Willow leads them underground. A place where everyone feels relatively comfortable except Kit, wanting to leave the place as fast as she can. The underground of the Nelwyn is a place where no one cares that she is the princess, but instead they’re only interested in Elora Danan.

In other words: As Kit takes the first blow and starts to fall, the story also moves her down visually.

Then there are two big moments in episode 3 that stand out:

The first one is when Kit realizes that Jade let her win whenever they sparred. The scene takes place away from the group, down at a river. Although the camera-work usually lets Kit have the highground, here it is the other way around. Kit is visually placed beneathe Jade as she learns that Jade has been a better fighter than her her whole life.

The second moment is when Kit is looking for the Lux with Boorman. Boorman rightfully calls Kit out for being too hard on Elora and tells Kit she might be blaming Elora for her dad leaving – a sentiment that will prove painfully true later on.

Kit takes this blow not only underground again but at the bottom of a vale; a clear step down from the harmless underground of the Nelwyn.

In episode 4, the Fall of Kit™ takes a retarding moment when she puts her own pride away and helps encourage Elora in the final scene. This is the first time since the beginning that Kit is actively making a step towards Elora, standing with her instead of against her and furthermore enabling her to save Graydon’s life.

Episode 6 is where Kit reaches her lowest of points. It’s where she learns that her father isn’t dead. It’s where she learns that Boorman didn’t go with him. And most importantly, it’s where she learns that for her dad, Elora Danan was what mattered most. In a way, her fears of not being loved and not being enough, come true (at least in her mind). And she also feels proven right in the thought, that Elora Danan was always picked over her. By everyone.

Visually, Kit reaches this lowest point not only in the Troll-Mines (again, lower underground than the Nelwyn and also much lower than in the vale). But after Alagash tells her, that Elora Danan is what matters most, she literally falls to the very bottom of these endlessly deep mines. And as if that wasn’t enough, the mines literally collapse in on themselves (as Kit is) because of Elora – with Elora seemingly unable to do or even knowing anything about it.

(Aside: One could literally dissect episode 6 and how with every blow to Kit they reach a deeper level of the mines. Also, how Elora hears Kit’s voice echo from the bottom of the mines a few times before it actually happens is chef’s kiss.)

And then, eventually, Kit lashes out at Elora. Saying out loud what she has been thinking all this time. Having had everything taken from her.

And at her lowest moment, at the lowest point of these deep mines, after she lashes out, the fall is completed by her literally falling into the goo underground. Narratively and visually, Kit has fallen as low as possible and is at appoint of no return.

At the start of episode 7 then, Elora saves Kit’s life. And here, the camerawork is impeccable: As Kit sees Airk and tries to reach for him, the camera is turning, visualizing a myriad of things, one amongst them is showing us the turn in Kit’s character motivation to come. It also signals that there is no way for Kit going forward, but that she must change her course.

Moreover, Kit and Airk reaching for one another is a reference to The Creation of Adam, in which God gives life to Adam. Here, Kit at her lowest, is being saved by Elora, making Elora give life to Kit.

This end to Kit’s Dramatic Fall™ is a wonderful subversion (because usually the hero then either dies or becomes a villain). Having Elora quite literally giving new life to Kit is just so beautiful.

(Aside: I have many, many more thoughts on this but this is already a novel as is.)

Bonus: Kit having had such a huge falling-arc and then finding a true trusted and loved one in Elora, makes the final scene of episode 7 all the more beautiful. In her lowest moment, Elora saved her. So, Kit can save Elora at her lowest moment. And they can fall together. Because they have each other. Each one of them giving life to the other.

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sawcathuntingplainrawlasagna · 1 year

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On Displays of Physical Intimacy

Welcome back to another episode of Shoshana Talks For Too Long About Why She Likes A Choice That Understandably Most People Are Kinda "Meh" About.

Namely the lack of physical displays of intimacy and affection between Kit and Jade in the finale, namely from Jade.

While watching episode 5, I remember being kinda baffled that Elora would say Kit couldn't love Jade back because SHE'S BASICALLY ALL OVER HER. Well, that's a gross exaggeration, but Kit's constantly touching Jade in this casual, comfortable way that's somewhere between "I need to reassure myself you're here" and "hey I'm here for you."

In short, I'm obsessed. In long, it was pretty obvious to me from the jump that while Kit is much more comfortable with physical affection both when they're alone and in front of people, Jade is most certainly not.

Jade's been repressing her feelings for probably at least a decade, of course she's gonna be reluctant to touch Kit pre-confession. Even post-Jade's confession, some of the few times we see Kit and Jade touch pre-kiss are the adorable hug, which is more mutual, and Jade touching Kit's arm post-daddy issues sword extravaganza (which we kinda get a repeat of in the finale).

We only really see Jade break and touch Kit in a more intimate way RIGHT after she almost drowns (I will forever be bitter we missed the moments right after Kit got launched outta wyrm lake). There's also the moments when Jade's helping out waterlogged Kit post-drowning, but those felt more like Jade could rationalize that away as continuing to do her duty to both Sorsha and Kit. The more distance Jade can put between herself and her feelings, the better lol.

I feel like even though Jade maybe feels more safe expressing herself with Kit physically one-on-one once their feelings are out there, she CLEARLY doesn't feel the same in front of the rest of the group (we really only see them physically touching in a more relaxed way in front of the others that one moment on the beach, which is ADORABLE). Jade's got a long way to go before she fully shakes off the whole "can't touch the princess I shall pine from afar" baggage.

So like even thought my little shipper heart was screaming "hug her" when Kit popped out of the dust pile after Allagash's possible sacrifice or in a million places during the finale, it really tracks for me that Jade wouldn't be in that place. Physically comforting Kit isn't her first thought like it seems to be with Kit for Jade (which we literally get as early as episode 1). Like even when Kit is a disaster because she thinks she's gonna have to off someone she loves, an experience Jade both has had and wanted to protect Kit from experiencing, she's standing back clenching her fists because she doesn't see herself as belonging in that moment. It was for the royals, not for her. That little voice will always be there in the back of her mind.

As much as I wanted All The Content in this first season, I also would like more seasons, which means this relationship needs somewhere to go. And aside from any potential external conflicts that may pop up, I love a potential growth area for Jade being her becoming more comfortable initialing physical affection. I'm usually one for slowburn in terms of when the characters get together, but I think a slowburn in terms of characters growing more comfortable and taking more ownership over what they want to be in their romantic relationships is also fun as hell.

I also deeply need some more Jade Gets Hurt content next season. It's all I want, I am a hurt/comfort girlie.

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sawcathuntingplainrawlasagna · 1 year

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♡judgmental girlfriends♡

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sawcathuntingplainrawlasagna · 1 year

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when life imitates art

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sawcathuntingplainrawlasagna · 1 year

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dumbasses in love.. but like literally <3

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sawcathuntingplainrawlasagna · 1 year

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erin and ruby on willow fun on set

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sawcathuntingplainrawlasagna · 1 year

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real

Me, rewatching Mads and Kael fight: Your daughters are gonna fall in love in 16 years...

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sawcathuntingplainrawlasagna · 1 year

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The worst part isn’t getting caught, or the punishment once you are. The worst part is believing that next time you’re gonna get it right. I suppose, in the end, it’s hope that really breaks your spirit.

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sawcathuntingplainrawlasagna · 1 year

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Jade Claymore really is the character of all time… trained your whole life to uphold these knightly ideals but never really understanding them until you’re committing to a quest that you’ve only joined because you’re destined to follow your tragic princess lover thru fire and rain…. discovering on said quest that your adoptive father has lied to you your entire life about your biological family and then having to KILL him to save your friends…. nearly giving up your knighthood but being inspired to simply run for the things u want and never look back by a MERCENARY who says u have the hots for your princess not even ten minutes later….. confessing ur enduring love for said princess in the middle of a forest as if ANYONE was surprised….. saving her endless times from bone reavers and trolls and whatever the fuck and learning that THAT is what it means to be a knight!!! knighthood means strength and devotion despite facing the worst of odds!!! and you’ve been a knight all along!!! and then on top of all that you have the BEST hair in the entire dnd party. absolutely unparalleled character.

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sawcathuntingplainrawlasagna · 1 year

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You’re gonna be a great knight.

But I’ll still kick your ass.

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sawcathuntingplainrawlasagna · 1 year

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WILLOW S01E03 | The Battle of the Slaughtered Lamb

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sawcathuntingplainrawlasagna · 1 year

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Analysis of Avatrice as Talk and NFWMB by Hozier

I’ve been thinking abt these songs and how well they could be about Ava and Beatrice so here goes nothing

Disclaimer: this analysis is completely detached from the original meanings behind the songs. I approached the lyrics on their own and by completely ignoring the original intentions behind them.

Bea’s POV - Talk

The song begins with the line:

I'd be the voice that urged Orpheus When her body was found

Instantly, two things - first off, Avatrice is very the-myth-of-Orpheus-and-Eurydice coded and secondly, there is no way Beatrice doesn't know all about greek mythology and in particular about this exact myth. I just know her gay ass knows it by heart and is very deep into greek mythology. And also it reminds me of Portrait of a Lady on Fire which I cannot imagine not being a favourite of Beatrice's.

About the actual line - the so-called voice is one that urges Orpheus to go to the Underworld and try bring back the love of his life - Eurydice (exposing him to danger, making him do something irrational).

Beatrice risked the mission and the world in order to keep Ava and it makes a lot of sense she would see herself in this 'voice'. A voice urging to be followed into the greatest of dangers.

This ties to the next lines as well.

I'd be the choiceless hope in grief That drove him underground I'd be the dreadful need in the devotee That made him turn around And I'd be the immediate forgiveness In Eurydice

She sees herself as the problem. The problem which leads to all danger.

The narrator sees himself as all dangerous and tempting and so does Beatrice. Her feelings are putting their mission, their lives to danger. She sees herself as something that needs to be put out, a fire that is a little bit too dangerous.

As for the forgiveness in Eurydice, I assume it speaks to the part after Orpheus looks back. To me this is acceptance of this vision of herself. She has accepted she is someone, who imperils the natural, right, way of things and has based a shit ton of her decisions on that information.

Imagine being loved by me

And then there is the actual craving that peeks underneath it all - Beatrice actually dreams of taking care of Ava. But actually she already does, she wants Ava to just try and imagine it - what they could be together. She isn't even asking of her to actually answer Beatrice's call, to be loved, she wants her to imagine it. It doesn't have to be reality. She wants Ava even if it is only in her dreams. It is an image she often thinks of and doesn't dare try to make into reality.

But it also reveals something more. She knows what she can offer. The image is a good one. She knows the lengths to which she will go in order to have Ava. She knows how much she can give (because she has already done that before in her life, probably didn't end well). She probably knows it's not good for her, but she cannot help herself.

It could also be a kind of question to herself and to Ava, which she tries to answer in her head. Can Ava imagine being loved by Beatrice? Is that a possibility?

I won't deny I've got in my mind now All the things I would do So I try to talk refined for fear that you find out How I'm imaginin' you

Beatrice fantasises about Ava. About what they can be and all the things she would do. Not only when they are together, but also to get them be together. Whether that be changing seats in the van or killing off 30 armed men.

And she does talk refined. She calculates all her words and rethinks her sentences 3 times before saying them out loud. She doesn't give away her internal monologue (not with words anyway). She is reserved because she does not want to rebut their mission (and the world's well being for that matter), but also because she is scared of rejection. Right, the tough, calculating and precise Beatrice has feelings. Feelings that run very deep to say the least. And Beatrice is scared. Scared of her feelings, scared of letting the world down, scared of letting Ava down.

She talks refined in an attempt to hide behind her words, or rather sometimes lack there of. She talks refined to hide away her fear.

I'd be the last shred of truth In the lost myth of true love I'd be the sweet feeling of release Mankind now dreams of That's found in the last witness Before the wave hits, marvelling at God Before he feels alone one final time and marries the sea Imagine being loved by me

This second verse to me is once again about all the things Beatrice can and is so willing to give to Ava. All the good things she can be for Ava in the time they have together, before it all goes to hell.

I won't deny I've got in my mind now All the things I would do So I try to talk refined for fear that you find out How I'm imaginin' you x2

It is Beatrice finally accepting it all - her love for Ava, her attraction towards her, all the things she feels with her (old and new), all the thoughts that keep her awake at night, all the things she would do, all the circling around the point, all her passion.

and then

Ava's POV - NFWMB

NFWMB begins with the lines:

When I first saw you The end was soon

This line to me refers to the end of Ava's ordinary life, the end of the world as they know it and the end of Shannon's life as well.

'The end' was what brought them together and what (tried to) set them apart.

Ava remembers the exact moments she first saw Beatrice and how that was connected to the 'ending of the world'. Most importantly how that made her feel.

To Bethlehem it slouched And then, it must've caught a good look at you

Biblical references, of course, very on brand :). The end (?) slouched for Bethelehem, I interpret as a very destructive force headed for something divine. And this also fits the setting of Warrior Nun quite well, which kind of wraps it up with the exposition and gives way to Ava's feelings.

Might be a little bit of a stretch, but I feel like giving an exposition is the way Ava has been taught to begin stories, because of all the TV and books she has seen/read. She tells this story like a tale.

Give your heart and soul to charity 'Cause the rest of you The best of you Honey, belongs to me

And now we enter our topic of interest - Avatrice.

Ava knows how pure Bea's heart is and this mission that she is so emerged in seems like charity work. Not that Ava thinks Bea's intentions are entirely pure, more so that she knows how unintentionally Bea has gifted her youth to something, to a cause, to a belief. She has seen enough brutality. She knows that Bea's devotion has grown to be very strong.

But this devoted, ghost of a person that Beatrice has given to the OCS is not what her heart contains. Ava sees that. The rest of Beatrice is in Ava's eyes not 'the rest', but actually the most essential part of her. This part shines so brightly for Ava. And even though Camila and Mother Superion for example know that there is more to Beatrice, they have not seen her like that, they have not been able to read her so clearly.

This part of Beatrice is exclusively reserved for Ava, and her alone.

This line also exudes a lot of confidence. Confidence Ava has and shows, confidence with which she moves through the world and which is also one of the things that Bea is so attracted to.

She isn't being cocky or flaunting Bea's feelings, rather is telling a very big truth in a very honest way. This type of honesty about such big feelings can only work between two people who have complete trust and know how to communicate.

Ain't it a gentle sound, the rolling in the graves? Ain't it like thunder under earth, the sound it makes? Ain't it exciting you, the rumble where you lay? Ain't you my baby, ain't you my baby?

This brings a very new perspective to the world surrounding them and a direct opposite to the way Beatrice feels in the world. Ava reveals a type of sweetness in all the danger. This is not to say that it is fun to see so many get killed or to have to fight such brutal fights, but to call out an inevitable truth of it all - they are not doing it all for selfless reasons. In fact, a lot of what they do is for selfish reasons and there is no need to hide that. Ava seems to be very honest, while Beatrice is one to conceal.

What they do, even if motivated partly by inevitably selfish reasons, is still very hard. This is Ava’s appeal to Beatrice to relax and loosen up.

Nothing fucks with my baby Nothing can get a look in on my baby Nothing fucks with my baby Nothing, nothing, nothing, nothing

Ava has been very protective of Bea, risking it all not only once. And even though Bea has done the same, it is different with Ava. Bea is everything Ava has and the first person who has been there for her and continues to be by her side, no matter what. So Ava will fight with teeth and claws to protect that. The repetition of ‘nothing’ seems to highlight how Ava would do anything and everything to protect Beatrice.

If I was born as a blackthorn tree I'd wanna be felled by you Held by you Fuel the pyre of your enemies

Blackthorn trees are associated with witchcraft and ill omen. The Halo feels like a burden to carry, almost like carrying the cross. In a situation where Ava has to carry the weight of the world on her shoulders, the only thing she wants is to be ‘felled’ by her lover. It is a play of words - the word sounds both like ‘felled’ and ‘felt’. Felled as in saved from it all. Saved like how christians aim to be saved by God, only God is a divine woman named Beatrice. And felt as in not only physically, but also emotionally. She wants them to be together in all ways possible. Physically, emotionally, here, now or somewhere else, some time else. In this life or the next.

Fuel the pyre of your enemies is an act of devotion. She wants to do the dirty work, she wants Beatrice to know.

Ain't it warming you, the world gone up in flames? Ain't it the life you, your lighting of the blaze? Ain't it a waste they'd watch the throwing of the shade? Ain't you my baby, ain't you my babe?

While the world is burning, so is their growing mutual love. The world burning is after all what brought them together, because of it they met at all. Ava is using the world going up in flames as a metonymy for their love growing bigger.

The world going up in flames is also the umbrella that covers their love story. While the world will be busy with its own destruction, underneath it all a great love story will have ran. An undercurrent determining the fate of the world. It is after all their love that is the core of it all, the determinator of fate.

Nothing fucks with my baby Nothing can get a look in on my baby Nothing fucks with my baby Nothing, nothing, nothing, nothing

And one last time, nothing can do harm to Beatrice as long as Ava is there. Nothing can even try and take a glance at bisexual jesus’ hot gf Beatrice (throwback to Ava murdering the girl in the bar with her eyes for daring to look at Beatrice). Looking at Beatrice is reserved for Ava, because only her gaze can do justice to Beatrice’s beauty.

In conclusion

NFWMB is a very fiery song, revealing someone ready to fight, someone who gets angry when their gf is being flirted with.

Talk is a very watery song, for someone who feels and thinks deeply, someone who gets sad when they think their gf is being flirted with.

Fire can also be gentle and warming. It needs support to burn, but can get out of control fast.

And water can be very powerful and persistent. It is healing, but also should not be undermined in its destructive properties. (it can also make ur pants wet ;))

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But what I love the most about Warrior Nun (and Portrait of a Lady on Fire for that matter) is that the two women are equal in all ways. Meaning that these two songs can very well be swapped and would also make a lot of sense the other way around :)

We see them slowly switching positions and beliefs throughout the two seasons and the two songs can be used as reference points to the beginning and ending states of their beliefs. the binary oppositions at hand are freedom - duty, honesty - hiding, openness - reservation etc. They share a lot of the same qualities in their cores, but swing very heavily into extremities. An example is Ava who is very honest and direct in the beginning, sharing most of what goes on in her head, to Ava at the end of the second season, who straight up lies to Beatrice and hides her true plans.

There is something incredible about how Ava and Beatrice absorb so much from each other. They are almost like guiding lights to each other, but in such a morally grey world that we cannot actually tell which of the things they absorb are good and which not. We are gays, though, so definitely whatever keeps them together, right?

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This was my humble analysis, I hope you enjoyed it and if you actually made it this far, I love you and thank you.

Take care, gays.

Drink your water, go outside and do not forget to breathe.

and of course keep begging for #SaveWarriorNun :)

Screenshots of the whole lyrics of Talk and NFWMB below.

MERRY CHRISTMAS <3

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